Synopsis:Eureka is a drama, set mainly in rural Japan, and is mostly shot in sepia tone. It tells the story of a young boy and girl, Naoki Tamura and Kozue Tamura (Masaru Miyazaki and Aoi Miyazaki, who are real-life siblings) who are on a bus when it is hijacked by a crazed killer. They, along with the bus driver, Makoto Sawai (Koji Yakusho), are the only survivors and flee together. But upon their attempted return to their normal lives, Makoto becomes a suspect in a series of murders and the children become orphaned. These numerous unfortunate events bring the three, along with the orphans' cousin, Akihiko (Yoichiro Saito), back together, forming a family and working toward reconciliation from the shared hijacking experience.

Kazuhiko, a graduate of a prestigious university, wasn’t enjoying his life, until he takes a job at a bathhouse. There, he discovers something unexpected happening after hours.

In the early years of the Tang Dynasty, the world was at peace, but there were still evil spirits in the world. The Dragon King of Jinghe was beheaded, and the Shui Waters Tribe was filled with grievances and wanted...

In the second year of Longwu in the Southern Ming Dynasty, the Qing army went south to attack the city and seize the land. The smoke filled with gunfire and the roar of artillery fire. The Yanping King Zheng Chenggong led a bloody battle to defend the territory. Zheng Chenggong, a famous general of a generation, still adheres to the oath of protecting our country and never backs down!

Set within an all boys Christian High School, a beautiful new trainee teacher (Kim Sa-Rang quickly gains the attention of the students and faculty. Meanwhile, a school festival is set to take place and the trainee teacher is set to teach dance to three students. A rumor then spreads that the trainee teacher has had an affair with one of the students.

Rumors spread that on the night when the new Imperial Palace in Luoyang was constructed, a divine dragon appeared, breathing fire, and burning down the palace. The carpenters involved either died or went missing. Di Renjie was promoted, unusually, and appointed as the Deputy Minister of the Ministry of Justice to handle this "palace arson case." Throughout the investigation, he faced obstruction from mysterious forces, and he gradually uncovered the truth.

(Source: iQIYI)

This film is about ancient aristocrats who stored their treasures underwater, which can be inherited by future generations with the right credentials. The deposit and withdrawal of treasures are both completed underwater, which can be simply understood as an underwater bank. For generations, the underwater bank has been controlled by three prestigious families who still operate this business today. However, 20 years ago, during a routine "golden soup" operation, a huge tentacle suddenly appeared in the lake, almost wiping out the three skilled members of the families present, leaving only a young boy named Yi Sa as the sole survivor. 20 years later, Yi Sa, now the leader of the Yi family's underwater creatures, experiences physical anomalies and, in an effort to uncover the truth about the disaster from 20 years ago and to save himself, teams up with Ding Yu Die, a member of the Ding family's underwater creatures, and Zong Hang, who stumbled upon them carrying the ancestral plaque of the Jiang family, to once again dive into the lake for another "golden soup" operation.

(Source: iQIYI)

Adapted from the novel "Three-Line Reincarnation" (三线轮回) by Wei Yu (尾鱼).

Kihachi Okamoto's The Sword of Doom is likely to strike the unalerted viewer as an exercise in absurdist violence, tracking the career of a nihilistic swordsman from his gratuitous murder of a defenseless old man to his final descent into what looks like a rehearsal for global annihilation, as, in a kind of ecstasy, he slaughters a seemingly endless army of attackers both real and phantasmal. The extreme but stylized violence of Okamoto's 1966 film epitomizes a mode of Japanese filmmaking that profoundly influenced such directors as Sam Peckinpah and Sergio Leone, and it would be easy—and not entirely inaccurate—to read the film in the light of the cynical antiheroic trends that surfaced in genre films all over the world in the 1960s and surmise that it represented the same kind of break with heroic tradition as, say, spaghetti westerns. It should be kept in mind, however, that The Sword of Doom was only the most recent episode derived from a long line of stage and film versions of an immensely long, structurally meandering novel that has remained popular ever since the appearance of its first installments a year after the death of the emperor Meiji (the ruler who oversaw Japan's transition from hermetically sealed feudal state to modern industrialized nation), and whose ostensible theme is religious.